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Journal articles on the topic 'Beowulf'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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1

Liu, Zhaoying. "On Beowulf's Elegiac Mood: from the Perspective of Cognitive Poetics." Journal of Education, Humanities and Social Sciences 21 (November 15, 2023): 128–33. http://dx.doi.org/10.54097/ehss.v21i.13179.

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Beowulf is the longest narrative poem in ancient England and the most complete and outstanding epic in the early Middle Ages of Europe. It holds an important position in the history of British literature and even European literature. Beowulf mainly tells the great deeds of the hero Beowulf, who is half human and half divine, in subduing monsters and killing poisonous dragons. It has a mythological colour and can be regarded as a heroic mythological epic. It mainly praises Beowulf's heroic spirit, promotes Christian consciousness, and showcases England's unique cultural style during the Anglo-Saxon period. Most studies of Beowulf focus on Germanic culture, literary form, historical background, themes, and symbolic significance portrayed in the poem. By adopting theories in Cognitive Linguistics like prototype, iconicity, perspectives, metaphor, naming in cognitive poetics, this article peruses the elegiac language of Seamus Heaney's Beowulf, illustrating that Beowulf is an elegy of the deaths of heroes, the inconstant fate, the vicissitudes of the world and age, the collapse of tribal society, and ultimately—the elegiac world, and results in that Beowulf is more like an elegy than an epic.

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2

Davis, Craig R. "An ethnic dating of Beowulf." Anglo-Saxon England 35 (December 2006): 111–29. http://dx.doi.org/10.1017/s0263675106000068.

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AbstractAn interest in Danish legend first appears at the West Saxon court in the 890s when King Alfred traced his father's lineage to Scyld. Alfred traced his mother's ancestry through the Jutish kings of Wight to Goths and Geats, suggesting a motive for the particular view of the ethnic past we find in Beowulf, especially the friendship the poet constructs between a Geatish ætheling and a Danish monarch. A modification of Michael Lapidge's paleographical dating of the archetype of Beowulf (2000) indicates a West Saxon exemplar before c. 900, confirming the mature king's court as a plausible context for Beowulf's composition.

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3

Kaplan, Jeff. "Dancing with the Dragon: Orality and (body) language(s) in a live performance of Beowulf." Nordic Theatre Studies 28, no. 2 (February 21, 2017): 36. http://dx.doi.org/10.7146/nts.v28i2.25534.

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This paper theorizes on the function of language and embodiment in northern European storytelling through a self-reflex analysis of the author’s experience performing Beowulf in its original dialect, as a solo, while dancing. Beowulf is Min Nama involved memorizing approximately 80 minutes of the medieval Beowulf epic in its original West Anglo-Saxon dialect (lines 2200—2766, Beowulf’s encounter with the dragon). Grappling with bardic verse for recitation in experimental live performance uncovered new facets in ancient performance texts. Working with the Beowulf poem for stage revealed the mnemonic quality of alliteration, the pervasive use of rhythmic patterns to signal shifts in ideas (a strategy similar to West African dance), and perhaps “deep rhythms” present in medieval northern Europe. As impetus for choreography, the verse contains rhythmic information, corresponding to musical/dance concepts such as pick-ups, counterpoint, and syncopation. Beowulf is Min Nama also required a theory of dialect for Old English, which the author based on modern Swedish, medieval Frisian, and modern Frisian — especially the voices of Frisian poets Tsjêbbe Hettinga and Albertina Soepboer. The project thus provides an entrée into the nexus between ancient and modern storytelling, and concludes that contemporary Frisian poetry represents a direct inheritor to ancient solo performance forms.

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4

Weber, Benjamin D. "Sworn swords: the Germanic context of Beowulf 2064, aðsweord." Anglo-Saxon England 47 (December 2018): 177–96. http://dx.doi.org/10.1017/s0263675119000036.

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AbstractThis article argues that the Beowulf-poet’s use of the word aðsweord, usually glossed as ‘sworn oath’ in Beowulf 2064 is a play on the words for oaths (að) and swords (sweord) intended to evoke the difficulty inherent in social mechanisms designed to end cycles of reciprocal violence. By tracing the idea of a ‘sword-oath’ as a means to secure peace through a number of Latin and Norse analogs, this article elucidates an important feature of Beowulf’s rhetoric in his speech to Hygelac’s court, showing how he contrasts his own heroic successes in defeating the Grendelkin with Hrothgar’s failure to cement peace between the Danes and the Heatho-Bards. The article thus offers a structural rationale for the Ingeld episode, which has often seemed repetitious to critics, and illustrates the value of criticism that focuses on the intersection of style, narrative logic and theme in Beowulf.

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5

Griffith, M. S. "Some difficulties inBeowulf, lines 874–902: Sigemund reconsidered." Anglo-Saxon England 24 (December 1995): 11–41. http://dx.doi.org/10.1017/s0263675100004634.

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The episode of Beowulf's fight with Grendel is followed almost immediately by brief accounts of two very different heroic careers – those of Sigemund and of Heremod – sung by a minstrel-thegn of Hrothgar, apparently in praise of the hero, as the celebrating Danes race their horses back from Grendel's mere. This narrative sequence invites us to contextualize Beowulf's first great exploit in a broader frame, but the poet does not make explicit the precise nature of the comparisons between these three figures. The critics, however, have broadly agreed that the link with Sigemund compliments Beowulf, whilst the parallel with Heremod contrasts with the hero and with Sigemund. E. G. Stanley comments that the poet ‘perhaps … perceives the hero of his poem at this point as being all that, in descriptions known to him, made Sigemund glorious and all that Heremod was not’. F. C. Robinson agrees that the meaning of this section ‘is never spelled out, but the implication is clear: Beowulf is like Sigemund, unlike Heremod’. The contrast between the ‘sustained heroic exploits’ of Sigemund and the downfall of Heremod is, for R. E. Kaske,. ‘the basic theme of the whole Sigemund-Heremod passage’, and this interpretation is, he thinks, ‘hardly open to question’. The purpose of this article is to re-open the question of the nature of the relationship between Sigemund and Beowulf.

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6

Bradley, S. A. J. "Review: Beowulf * Seamus Heaney: Beowulf." Cambridge Quarterly 30, no. 1 (March 1, 2001): 82–86. http://dx.doi.org/10.1093/camqtly/30.1.82.

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7

Olesiejko, Jacek. "Wealhtheow’s Peace-Weaving: Diegesis and Genealogy of Gender in Beowulf." Studia Anglica Posnaniensia 49, no. 1 (March 1, 2014): 103–23. http://dx.doi.org/10.2478/stap-2014-0005.

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ABSTRACT This article uses Charles S. Peirce’s concept of icon and Judith Butler’s idea of genealogy of gender to study levels of fictionality in the Old English poem Beowulf. It shows that Wealhtheow, the principal female character in the epic, operates as a diegetic reader in the poem. Her speeches, in which she addresses her husband King Hrothgar and Beowulf contain implicit references to the Lay of Finn, which has been sung by Hrothgar’s minstrel at the feast celebrating Beowulf’s victory. It is argued here that Wealhtheow represents herself as an icon of peace-weaving, as she casts herself as a figuration of Hildeburh, the female protagonist of the Lay of Finn. Hildeburh is the sister of Hnæf, the leader of the Danes, and is given by her brother to Finn the Frisian in a marriage alliance. In her role as a peace-weaver, the queen is to weave peace between tribes by giving birth to heirs of the crown. After the courtly minster’s performance of the Lay, Wealhtheow warns her husband against establishing political alliances with the foreigner Beowulf at the expense of his intratribal obligation to his cousin Hrothulf, who is to become king after Hrothgar’s death.

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8

Alexander, M. J., and George Clark. "Beowulf." Yearbook of English Studies 22 (1992): 257. http://dx.doi.org/10.2307/3508392.

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9

Irving, Edward B. "Beowulf." ANQ: A Quarterly Journal of Short Articles, Notes and Reviews 3, no. 2 (April 1990): 65–69. http://dx.doi.org/10.1080/19403364.1990.11755241.

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10

Bodek, Richard. "Beowulf." Explicator 62, no. 3 (January 2004): 130–32. http://dx.doi.org/10.1080/00144940409597197.

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11

Marino, Stephen. "Beowulf." Explicator 54, no. 4 (July 1996): 195–98. http://dx.doi.org/10.1080/00144940.1996.9934113.

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12

OSBORN, MARIJANE. "THE ALLEGED MURDER OF HRETHRIC IN BEOWULF." Traditio 74 (2019): 153–77. http://dx.doi.org/10.1017/tdo.2019.9.

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A scenario well known to Beowulf scholars alleges that after Beowulf has slain the monsters and gone home, Hrothulf, nephew of the Danish king Hrothgar, will murder prince Hrethric to gain the throne when the old king dies. This story, that many Anglo-Saxonists assume is integral to the ancient legend of these kings, is a modern misreading of the poet's allusions to events associated with the Scylding dynasty — a legendary history that the poet arguably takes care to follow. The present essay, in two parts, first shows how the idea of Hrothulf's treachery arose and became canonical under the influence of prestigious English and American scholars, then finds fault with this idea, refuting its “proof” from Saxo Grammaticus and showing how some Anglo-Saxonists have doubted that Beowulf supports an interpretation making Hrothulf a murderer. But when the poet's allusions to future treachery are ambiguous, at least for modern readers, in order to exonerate Hrothulf fully one must go to traditions about the Scylding dynasty outside the poem. Scandinavian regnal lists (including one that Saxo himself incorporates) consistently contradict the event the Saxo passage has been used to prove, as they agree on a sequence of Scylding rulers with names corresponding to those of persons in Beowulf. Attention to this traditional sequence exposes Hrothulf's murder of Hrethric as a logical impossibility. Moreover, the early medieval method of selecting rulers suggests that neither did Hrothulf usurp the throne of Denmark. In sum, careful scrutiny of the best Scandinavian evidence and rejection of the worst reveals Beowulf's “treacherous Hrothulf” to be a scholarly fantasy.

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13

Myers, Lisa. "The Ruined Landscapes of Beowulf : Apocalypse and Hope." Studies in Philology 121, no. 2 (March 2024): 189–208. http://dx.doi.org/10.1353/sip.2024.a923963.

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Abstract: A wide variety of scholars have examined the settings of the Old English epic Beowulf , interpreting the text in a myriad of ways and providing valuable information on sources and analogues. This article seeks to build upon and add to this body of scholarship by applying landscape history and a variety of archaeological evidence to the poem in order to develop a further understanding of the landscape settings of Beowulf as literary representations of real topographical features of early medieval England. Attention is paid to the mere and lair of the Grendle-kin, the barrow of the dragon, and Beowulf’s own final resting place. Analysis of these landscapes, grounded in the historical topography of England, enhances an interpretation of the text as a statement on humanity’s relationship with the past and hope for the future.

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14

Ramey, Peter. "St. Beowulf: Hagiography and Heroic Identity in Beowulf." Studies in Philology 121, no. 1 (January 2024): 1–27. http://dx.doi.org/10.1353/sip.2024.a919341.

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Abstract: Debates over the role of Christianity in Beowulf have not fully taken into account hagiographic models. Although saints' lives were among the first written materials to flourish in early medieval England, relatively little has been done to examine the influence of hagiography on Beowulf . After considering some of the reasons for the lack of such approaches, this essay examines Beowulf in light of hagiographic conventions and concepts, arguing that the Beowulf -poet invests the traditional warrior identity of the hero Beowulf with conceptions of sanctity found in saints' lives composed by Bede, Felix, and others. In the process, this essay challenges the prevailing "dramatic irony" view of the poem that divorces the religious understanding of the narrator from that of the characters. A thorough analysis reveals that characters and narrator speak a shared theological language and that the religious perspectives of narrator and dramatis personae are indistinguishable.

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15

Borges, Jorge Luis, and Joe Stadolnik. "Thorkelin y el Beowulf / Thorkelin and Beowulf." PMLA/Publications of the Modern Language Association of America 132, no. 2 (March 2017): 462–70. http://dx.doi.org/10.1632/pmla.2017.132.2.462.

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Jorge Luis Borges (1899–1986) chose an unconventional hobby to occupy his middle age when he devoted himself in the 1950s to the study of Anglo-Saxon language and literature. His efforts were made easier by his fluency in English. “Georgie” had grown up speaking English with his father and Staffordshire-born grandmother and reading English books in the family library (Williamson 34). He would later call the time spent in that library “the chief event of [his] life” (“Autobiographical Notes” 42). In the following essay, “Thorkelin y el Beowulf” (“Thorkelin and Beowulf”), Borges sympathizes with a fellow student of Anglo-Saxon whose own moment of bookish revelation would come to define him: Grímur Jónsson Thorkelin (1752–1829), the first modern editor of Beowulf. This unpublished essay recounts Thorkelin's seemingly predestined attraction to the Beowulf manuscript and the catastrophic course of his long devotion.

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16

Gwara, Scott. "Beowulf 3074–75: Beowulf Appraises His Reward." Neophilologus 92, no. 2 (September 8, 2007): 333–38. http://dx.doi.org/10.1007/s11061-007-9064-x.

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17

Hill, Thomas D. "Beowulf as seldguma: Beowulf, lines 247–51." Neophilologus 74, no. 4 (October 1990): 637–39. http://dx.doi.org/10.1007/bf00209600.

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18

Gelling, Margaret. "The landscape of Beowulf." Anglo-Saxon England 31 (December 2002): 7–11. http://dx.doi.org/10.1017/s0263675102000017.

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The landscape of the epic poem Beowulf is a fantasy construct in which incompatible features coexist, but while it is an unprofitable exercise to attempt a reconstruction of a coherent topography in which Beowulf's exploits took place, the poet's choice of individual landscape terms is not likely to be random. Where this choice is not influenced by alliteration, each term may have been intended to convey a specific image appropriate to its immediate context. Several of the landscape terms used in the poem are otherwise unrecorded or only found rarely in other literary sources. This applies to hlið, hop and gelad; but by contrast with their rarity in literature these words are well evidenced in place-names, and an understanding of the place-name usage may have some relevance to the interpretation of their occurrences in the poem.

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19

Крупина, Екатерина Алексеевна. "ОБРАЗОВАТЕЛЬНЫЕ РЕСУРСЫ СЕТИ ИНТЕРНЕТ В ОБРАЗОВАТЕЛЬНОМ ПРОЦЕССЕ (НА МАТЕРИАЛЕ ПРОЕКТОВ К ДРЕВНЕАНГЛИЙСКОЙ ПОЭМЕ «БЕОВУЛЬФ»)." Bulletin of the Humanities Institute of ISUCT 2, no. 1 (2021): 173–78. http://dx.doi.org/10.6060/bhiisuct2021_173.

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В статье рассматриваются интернет-ресурсы и электронные издания, такие как Beowulf in Hypertext, Gutenberg E-book of Beowulf, Beowulf in Cyperspace, CliffsNotes, Old English Aerobics, а также «Электронный Беовульф» К.Кирнана, созданные для самостоятельного чтения и изучения древнеанглийской поэмы «Беовульф». Особое внимание уделяется образовательным аспектам данных электронных и интернет-пособий.

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20

Neidorf, Leonard. "Scribal errors of proper names in the Beowulf manuscript." Anglo-Saxon England 42 (December 2013): 249–69. http://dx.doi.org/10.1017/s0263675113000124.

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AbstractScribal errors involving proper names appear throughout the manuscript of Beowulf. The scribes misrecognized names, converted them into common nouns of similar appearance, and spaced them into units that reflect incomprehension. This study assesses the implications of these errors for the engagement and awareness of the scribes, then considers their bearing on the dating and editing of Beowulf. The proper name errors reveal that the scribes were unfamiliar with the heroic-legendary traditions constituting Beowulf. The collective presence of these errors supports the probability that the extant manuscript of Beowulf is a copy of a centuries-old poem, not of a recent composition.

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21

Myerov, Jonathan S. "Reentering beowulf." European Legacy 2, no. 5 (August 1997): 876–81. http://dx.doi.org/10.1080/10848779708579824.

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22

Kendall, C. B. "Beowulf Repunctuated." Notes and Queries 49, no. 2 (June 1, 2002): 265–66. http://dx.doi.org/10.1093/nq/49.2.265.

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23

Kendall, Calvin B. "Beowulf Repunctuated." Notes and Queries 49, no. 2 (June 1, 2002): 265–66. http://dx.doi.org/10.1093/nq/490265.

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24

Coats, Karen. "Beowulf (review)." Bulletin of the Center for Children's Books 60, no. 7 (2007): 303. http://dx.doi.org/10.1353/bcc.2007.0159.

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25

Coats, Karen. "Beowulf (review)." Bulletin of the Center for Children's Books 60, no. 11 (2007): 470. http://dx.doi.org/10.1353/bcc.2007.0453.

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26

Bammesberger, A. "Wealhtheow's Address to Beowulf (Beowulf, Lines 1226b-7)." Notes and Queries 57, no. 4 (September 10, 2010): 455–57. http://dx.doi.org/10.1093/notesj/gjq133.

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27

Earl, James W. "The Forbidden Beowulf: Haunted by Incest." PMLA/Publications of the Modern Language Association of America 125, no. 2 (March 2010): 289–305. http://dx.doi.org/10.1632/pmla.2010.125.2.289.

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It is sometimes said that unlike other epics Beowulf does not start in medias res, but it does; Beowulf has a backstory, which we are deep into when the poem begins. The backstory is not told in the poem, however, so modern readers may miss it entirely. It is found in the poem's analogues and was the focus of most Beowulf scholarship until 1936, when J. R. R. Tolkien turned our attention to the monster fights in the foreground. Following Tolkien, today's readers focus on what the poem does say, taking little or no interest in the analogues. There is quite a difference, however, between reading Beowulf as complete in itself and reading it intertextually, as part of a cycle of tales. An intertextual reading yields many surprises, among them a hidden incest theme. Beowulf is haunted by this and other dark matters, repressed in its textual unconscious.

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28

Williams, Graham. "wine min Unferð." Journal of Historical Pragmatics 18, no. 2 (December 31, 2017): 175–94. http://dx.doi.org/10.1075/jhp.00001.wil.

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Abstract This paper argues for a reconsideration of the pragmatics of Beowulf, specifically in relation to speech in what is known as the “Unferð Episode”, and more generally in terms of the poem’s placement in the ethnopragmatic history of English. Previous critics have almost unanimously read sarcasm into Beowulf’s treatment of the initially hostile Unferð (e.g., in his address to the latter as wine min, ‘my friend’), and in turn historical pragmaticists have discussed the poem in relation to Germanic insult-boasts, or flyting. By discussing the relevant contextual and co-textual frames, I show that previous interpretations along these lines have failed to recognize the import of Beowulf’s courtly speech.

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29

Neidorf, L. "Beowulf before Beowulf: Anglo-Saxon Anthroponymy and Heroic Legend." Review of English Studies 64, no. 266 (December 11, 2012): 553–73. http://dx.doi.org/10.1093/res/hgs108.

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30

Olivares Merino, Eugenio M. "'Beowulfo', 'Geatas' and 'Heoroto': An Appraisal of the Earliest Renderings of Beowulf in Spain." Miscelánea: A Journal of English and American Studies 39 (December 31, 2009): 73–102. http://dx.doi.org/10.26754/ojs_misc/mj.20099716.

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Back in 1934, Beowulf entered the Spanish editorial world. Manuel Vallvé published in Barcelona a retelling of this Old English poem not intending it for scholars or professors, but rather for children. Ever since then and up to 1975, the year of General Franco’s death, two translations of Beowulf, as well as a second version for kids were published in Spain. These texts are indirect indicators of the evolution of medieval English studies in this country and provide useful insights into the socio-historical background in which they were written. In the present paper I intend to contextualize these four texts in their ideological background. I will show how the Spanish versions of Beowulf were (un)consciously used by their authors mainly in two ways: either as a response to the dominant ideology, or as channels of transmission and reinforcement of the political establishment. Such a reappraisal has not been made up to now, and I consider it is badly needed given the level of maturity reached by Old English studies in English Departments at Spanish universities at the beginning of the twenty-first century.

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31

Busbee, M. B. "Grundtvig and Tolkien on Beowulf: A comparative analysis." Grundtvig-Studier 61, no. 1 (January 1, 2010): 12–30. http://dx.doi.org/10.7146/grs.v61i1.16567.

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Grundtvig and Tolkien on Beowulf: A comparative analysis[En komparativ analyse a f Grundtvigs og Tolkiens syn på heltekvadet Beowulf]Af M.B. BusbeeI 1941 betegnede Kemp Malone J. R. R. Tolkiens nu berømte forelæsning Beowulf: The Monsters and the Critics (1936) som Grundtvig i nutidig klædedragt. I 1975 kommenterede Andreas Haarder Malones bemærkninger og hævdede, at Tolkiens konklusioner var hans egne. I stedet for at fortsætte skellet mellem studier af Grundtvig og Tolkien, hvoraf mange henkastet underforstår Grundtvigs indflydelse på Tolkien, er det på tide at revurdere de spørgsmål, der er involveret i Malones påstand og Haarders tilbagevisning.Derfor gennemfører denne artikel en analyse af Tolkiens udkast til hans forelæsning og en sammenligning af den trykte udgave af hans forelæsning og Grundtvigs kritiske kommentarer til digtet skrevet mellem 1815 og 1820.Analyserne foretages med henblik på at genoverveje følgende grundlæggende spørgsmål: Hvad vidste Tolkien om Grundtvig og hans kritik af digtet? Hvilke ligheder er der i de to mænds kritik af Beowulf digtet! Og vigtigst af alt: Trak Tolkien på Grundtvigs kommentarer, da han formulerede sit eget syn på Beowulf eller forsøgte han måske at svare igen?

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32

Neidorf, Leonard, and Rafael J. Pascual. "Old Norse Influence on the Language of Beowulf: A Reassessment." Journal of Germanic Linguistics 31, no. 3 (July 29, 2019): 298–322. http://dx.doi.org/10.1017/s1470542718000144.

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This article undertakes the first systematic examination of Frank’s (1979, 1981, 1987, 1990, 2007b, 2008) claim that Old Norse influence is discernible in the language of Beowulf. It tests this hypothesis first by scrutinizing each of the alleged Nordicisms in Beowulf, then by discussing various theoretical considerations bearing on its plausibility. We demonstrate that the syntactic, morphological, lexical, and semantic peculiarities that Frank would explain as manifestations of Old Norse influence are more economically and holistically explained as consequences of archaic composition. We then demonstrate that advances in the study of Anglo-Scandinavian language contact provide strong reasons to doubt that Old Norse could have influenced Beowulf in the manner that Frank has proposed. We conclude that Beowulf is entirely devoid of Old Norse influence and that it was probably composed ca. 700, long before the onset of the Viking Age.

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33

Saltzman, Benjamin A. "Secrecy and the Hermeneutic Potential in Beowulf." PMLA/Publications of the Modern Language Association of America 133, no. 1 (January 2018): 36–55. http://dx.doi.org/10.1632/pmla.2018.133.1.36.

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Beowulf confronts the limits of knowledge in various forms: the unknowability of death, the secretive behavior of the poem's monsters, the epistemological distance of the past, and our inevitably fragmentary understanding of the poem itself. In the process, the poem also tells us something important about the methods and possibilities that it imagines for the work of discovery and literary interpretation more broadly. Scholars commonly address the poem as a text whose secrets need uncovering, but the poem's engagement with the mechanics of secrecy can be a cue for thinking through our own methods as literary critics in encounters with texts of the past. If we take Beowulf's treatment of secrecy as a guide for the poem's hermeneutic potential, then we find that the poem invites a kind of reading that rigorously, yet humbly, acknowledges how little we can actually know.

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34

Edwards, A. S. G. "Gavin Bone and his Old English Translations." Translation and Literature 30, no. 2 (July 2021): 147–69. http://dx.doi.org/10.3366/tal.2021.0461.

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This article examines the verse translations of various shorter Old English poems and of Beowulf by the Oxford scholar Gavin Bone (1907–1942), mainly published posthumously. It provides a biographical account of him, before going on assess his introductions to Anglo-Saxon Poetry (1943) and Beowulf (1945). It further describes the various techniques Bone used in his translations, the lexical and metrical forms he employed, and their relative degrees of success. The article also considers the illustrations Bone created to accompany his Beowulf translation. It concludes with an examination of the afterlife and subsequent neglect of Bone's translations.

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35

Bragg, Lois, and James W. Earl. "Thinking about "Beowulf"." South Atlantic Review 60, no. 3 (September 1995): 113. http://dx.doi.org/10.2307/3201141.

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36

Hart, Thomas Elwood. "Philologia, Beowulf, Commedia." PMLA/Publications of the Modern Language Association of America 126, no. 3 (May 2011): 813–15. http://dx.doi.org/10.1632/pmla.2011.126.3.813.

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37

Hill, John M., and James W. Earl. "Thinking about 'Beowulf'." Modern Language Review 92, no. 1 (January 1997): 160. http://dx.doi.org/10.2307/3734706.

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38

Martin-Viet, Marie. "Beowulf et Faraday." Bulletin des anglicistes médiévistes 45, no. 1 (1994): 873–74. http://dx.doi.org/10.3406/bamed.1994.1928.

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Neidorf, Leonard. "Beowulf and Freawaru." Explicator 79, no. 4 (November 24, 2021): 182–87. http://dx.doi.org/10.1080/00144940.2021.2005523.

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Williams, David J., Robert E. Bjork, and John D. Niles. "A 'Beowulf' Handbook." Yearbook of English Studies 30 (2000): 271. http://dx.doi.org/10.2307/3509264.

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White, Judy. "Beowulf, line 78." Explicator 51, no. 3 (April 1993): 138–39. http://dx.doi.org/10.1080/00144940.1993.9937998.

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Overing, Gillian R. "Beowulf on Gender." New Medieval Literatures 12 (January 2010): 1–22. http://dx.doi.org/10.1484/j.nml.1.102174.

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Baker, Peter S. "Beowulf the Orator." Journal of English Linguistics 21, no. 1 (April 1988): 3–23. http://dx.doi.org/10.1177/007542428802100101.

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Papadopoulos, Philip, Greg Bruno, and Mason Katz. "Beyond Beowulf Clusters." Queue 5, no. 3 (April 2007): 36–43. http://dx.doi.org/10.1145/1242489.1242501.

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Trahern, Joseph B. "Beowulf: A Likeness." Manuscripta 36, no. 1 (March 1992): 53–54. http://dx.doi.org/10.1484/j.mss.3.1392.

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McGowan, Joseph. "Heaney, Caedmon, Beowulf." New Hibernia Review 6, no. 2 (2002): 25–42. http://dx.doi.org/10.1353/nhr.2002.0035.

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Nelson, Marie. "Beowulf?SBoast Words." Neophilologus 89, no. 2 (April 2005): 299–310. http://dx.doi.org/10.1007/s11061-004-5371-7.

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Clarson, Stephen John. "Beowulf and Silicon." Silicon 9, no. 3 (March 25, 2017): 459–64. http://dx.doi.org/10.1007/s12633-017-9560-y.

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Hiatt, Alfred. "Beowulf off the map." Anglo-Saxon England 38 (December 2009): 11–40. http://dx.doi.org/10.1017/s026367510999010x.

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AbstractThis essay uses maps that have illustrated Beowulf since Klaeber's edition as a starting point for an exploration of spatial representation in the poem. It is argued that modern maps do not offer particularly useful tools for understanding the poem, and that ‘chorography’, that is, the description of regional space, may be a more accurate term for analysis of Beowulf than ‘geography’. The poem presents a topography intimately connected to the interrelations of different peoples, and the frequent movement between past, present and future times. The final section of the article considers the postmedieval reception of spatial reference in Beowulf, disputes the presence of an Anglo-Saxon ‘migration myth’ in the poem, and raises some implications for genre that result from spatial analysis.

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Killilea, Alison Elizabeth. "The Grendel-kin: From Beowulf to the 21st century." Boolean: Snapshots of Doctoral Research at University College Cork, no. 2015 (January 1, 2015): 97–101. http://dx.doi.org/10.33178/boolean.2015.20.

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Since the 19th century, the Anglo-Saxon poem Beowulf has received sustained critical attention; first transcribed and translated in the early 1800’s, Beowulf was at a focus point in scholarly study, albeit not on the merit of its literary or poetic achievement. The text was valued more as an interesting linguistic document until what has been described as one of the most important turning points in criticism of the poem, J.R.R Tolkien’s study Beowulf: The Monsters and the Critics, delivered in 1936. In this essay, Tolkien argued for the integrity of the poem in and of itself and for the central place of what are now often seen as the defining aspects of the poem: the monsters, who Tolkien argued held symbolic significance in the poem, and elevated it to more than just an exciting epic concerning the feats of the hero Beowulf against Grendel, Grendel’s mother, and the dragon. Since ...

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